In the history of modern painting, there has been a hidden thread revolving around the concept of the ‘thing’. The study attempts to explore this thread through Heidegger’s aesthetics of truth. In his essay The Origin of the Work of Art, Heidegger highlights the conflict between the earth and the world within a work of art, which is the basis for the emergence of truth in existence. He argues that the essence of a work of art lies in its ability to embody the truth of existence within itself. Starting from this point, this paper delves into the examination of objects in artworks, extending to an analysis of forms in modern painting history as well as objects as a key component of art. In the history of modern painting, the form construction direction initiated by Cezanne gradually took a leading role. However, with the advent of abstract art, the materiality of objects began to emerge and finally manifested itself. This development marked the end of the direction of form construction in modern painting and paved the way for the exploration of material research, thus opening up the history of contemporary art. Overall, Heidegger's aesthetics of truth can be seen as a valuable tool for understanding the role of objects in art and their relationship to the truth of existence. By examining the evolution of form and materiality in modern painting, we can gain a deeper appreciation for the complexity and richness of artistic expression.
| Published in | International Journal of Literature and Arts (Volume 11, Issue 3) |
| DOI | 10.11648/j.ijla.20231103.18 |
| Page(s) | 147-151 |
| Creative Commons |
This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited. |
| Copyright |
Copyright © The Author(s), 2024. Published by Science Publishing Group |
Heidegger, The Thing, Object Things, The Earth, World, Modern Painting, Form, Spirit
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APA Style
Cui Jianjun. (2023). On the Philosophy of the Thing in Modern Paintings. International Journal of Literature and Arts, 11(3), 147-151. https://doi.org/10.11648/j.ijla.20231103.18
ACS Style
Cui Jianjun. On the Philosophy of the Thing in Modern Paintings. Int. J. Lit. Arts 2023, 11(3), 147-151. doi: 10.11648/j.ijla.20231103.18
AMA Style
Cui Jianjun. On the Philosophy of the Thing in Modern Paintings. Int J Lit Arts. 2023;11(3):147-151. doi: 10.11648/j.ijla.20231103.18
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Download@article{10.11648/j.ijla.20231103.18,
author = {Cui Jianjun},
title = {On the Philosophy of the Thing in Modern Paintings},
journal = {International Journal of Literature and Arts},
volume = {11},
number = {3},
pages = {147-151},
doi = {10.11648/j.ijla.20231103.18},
url = {https://doi.org/10.11648/j.ijla.20231103.18},
eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ijla.20231103.18},
abstract = {In the history of modern painting, there has been a hidden thread revolving around the concept of the ‘thing’. The study attempts to explore this thread through Heidegger’s aesthetics of truth. In his essay The Origin of the Work of Art, Heidegger highlights the conflict between the earth and the world within a work of art, which is the basis for the emergence of truth in existence. He argues that the essence of a work of art lies in its ability to embody the truth of existence within itself. Starting from this point, this paper delves into the examination of objects in artworks, extending to an analysis of forms in modern painting history as well as objects as a key component of art. In the history of modern painting, the form construction direction initiated by Cezanne gradually took a leading role. However, with the advent of abstract art, the materiality of objects began to emerge and finally manifested itself. This development marked the end of the direction of form construction in modern painting and paved the way for the exploration of material research, thus opening up the history of contemporary art. Overall, Heidegger's aesthetics of truth can be seen as a valuable tool for understanding the role of objects in art and their relationship to the truth of existence. By examining the evolution of form and materiality in modern painting, we can gain a deeper appreciation for the complexity and richness of artistic expression.},
year = {2023}
}
TY - JOUR T1 - On the Philosophy of the Thing in Modern Paintings AU - Cui Jianjun Y1 - 2023/06/21 PY - 2023 N1 - https://doi.org/10.11648/j.ijla.20231103.18 DO - 10.11648/j.ijla.20231103.18 T2 - International Journal of Literature and Arts JF - International Journal of Literature and Arts JO - International Journal of Literature and Arts SP - 147 EP - 151 PB - Science Publishing Group SN - 2331-057X UR - https://doi.org/10.11648/j.ijla.20231103.18 AB - In the history of modern painting, there has been a hidden thread revolving around the concept of the ‘thing’. The study attempts to explore this thread through Heidegger’s aesthetics of truth. In his essay The Origin of the Work of Art, Heidegger highlights the conflict between the earth and the world within a work of art, which is the basis for the emergence of truth in existence. He argues that the essence of a work of art lies in its ability to embody the truth of existence within itself. Starting from this point, this paper delves into the examination of objects in artworks, extending to an analysis of forms in modern painting history as well as objects as a key component of art. In the history of modern painting, the form construction direction initiated by Cezanne gradually took a leading role. However, with the advent of abstract art, the materiality of objects began to emerge and finally manifested itself. This development marked the end of the direction of form construction in modern painting and paved the way for the exploration of material research, thus opening up the history of contemporary art. Overall, Heidegger's aesthetics of truth can be seen as a valuable tool for understanding the role of objects in art and their relationship to the truth of existence. By examining the evolution of form and materiality in modern painting, we can gain a deeper appreciation for the complexity and richness of artistic expression. VL - 11 IS - 3 ER -
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